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The Valkyrie
Fri, 29. Oct 2021, 17:00

Richard Wagner (1813 – 1883)

Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre: Ein Einführungsgespräch
Die Walküre: Ein Einführungsgespräch
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Die Walküre
Lise Davidsen und Nina Stemme singen „O hehrstes Wunder“ aus DIE WALKÜRE
Lise Davidsen und Nina Stemme singen „O hehrstes Wunder“ aus DIE WALKÜRE

With the hegemony of the gods at its zenith at the close of THE RHINEGOLD and the gods ensconced in the castle of Valhalla, trouble is brewing in THE VALKYRIE. The mortals are power-crazed, mistrust and materialism rule and all that the gods can think about is enforcing the old codes rather than questioning their raison d’être. Siblings Siegmund and Sieglinde are condemned to death because there is no place for their special brand of love in society. Brünnhilde, a Valkyrie, is charmed by them and dares to defy her father Wotan’s sentence by taking the pair under her wing. In THE VALKYRIE Wagner makes it plain whose side he is on: in the big love scene between Siegmund and Sieglinde, in which the elemental force of love outpunches all social mores, and in the evolution of Brünnhilde’s character, whose conduct is at first motivated by intuitive sympathy but morphs into deliberate action as a protest against inhumanity and injustice.

Werkinfo:
First dayA scenic festival in three days and in an eveFirst performed on 26th June, 1870 in MunichPremiered at the Deutsche Oper Berlin on 27th September, 2020

recommended from the age of 16